
In this hour-long documentary, Oxford academic Janina Ramirez tours the country in search of Anglo-Saxon art treasures. Her basic thesis - and it is a plausible one - is that we should not look upon their era as a "dark age" as compared, for example, to Roman times, but rather celebrate it as an age in which creativity flowered, especially in terms of artistic design as well as symbolism. She shows plenty of good examples, ranging from the Franks Casket to the Staffordshire Hoard, and the Lindisfarne Gospels.

Self - Regia Anglorum
Self - Birmingham Museum & Art Gallery

In this hour-long documentary, Oxford academic Janina Ramirez tours the country in search of Anglo-Saxon art treasures. Her basic thesis - and it is a plausible one - is that we should not look upon their era as a "dark age" as compared, for example, to Roman times, but rather celebrate it as an age in which creativity flowered, especially in terms of artistic design as well as symbolism. She shows plenty of good examples, ranging from the Franks Casket to the Staffordshire Hoard, and the Lindisfarne Gospels.
2010-08-10
7
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Sebastia, a small archaeological town, sits on top of a hill Northwest of Nablus, Palestine surrounded by Shavei Shomron, an illegal Israeli settlement and confiscated agricultural fields of olive groves and apricot trees. This ancient site was excavated multiple times over the last century by colonial archaeologists funded by Zionist individuals and institutions. The first excavation of 1908 led by Harvard University took advantage of Sebastia locals including women, men, and children as cheap labor digging their own land for the sake of biblical archaeology. Each excavation extracted soil and artifacts from the ground, taking what they considered valuable to their home institutions and leaving pottery shards and rubble on the surface. Today, what’s left of the archaeological monuments is contested by the nearby settlement as well as the Israeli military. The Roman Forum is a battlefield, but the locals are incredibly resilient.
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